THE FEASIBILITY OF CLEAR CAST
BESIN AS A PAINTIUG nEDIU;:'I.
A Thesis
Presented To
the Faculty of the Department of P~t
Kansas State Teachers College
Emporia. Kansas
In Part1al F'ulfillment
t of the Requirements for the Degree
I'laster of Arts
by
Gary Lee .~1pp1n ,"-,'~
JUly 1969
TJ, f
I
) j,,_._~~.,_..,..
; 1 I d(/<~:-..... ,........-/ c_.. ~/./0.:i. -
Approved for the Art Department
Pzu~~~ Approved for the Grad
~
.-eSC) ~("}f:"6 f' . ,'". - .. 1.'·:11~ ,,,,,,,,,,_. "-.,,..;'~,
ACKNCWLEDGEJ'r1Er-.lTfS
I wish to express lny appreciation to the members
of the Kansas State Teachers College Art Department for
their assistanoe in my pursuit of the degree, f1aster of
Arts.
The gUidance and assista.nce given me by 1'11'. Don
Hazelrigg far exceeded his normal duties as an instruotor
and committee chairman, and for this I am extremely
grateful. My special thanks to him and to Dr. J. Warren
Brinlonan, I>1r. Rex Hall, and Hr. Richard Stauffer.
r
ii
TABLE ~F CONTENTS
CHAPTER PAGE
I. TIITE PROBLEa AND DEFINITIONS OF TERJ.m USED • • 1
The Problem • • • • • • • • • • • • • • • 2
Definitions of Terms Used • • • • • • • • • • 3
Hypotheses • • • • • • • • • • • • • • • • • • .5
Kethods of Procedure • • • • • • • • • • • • 5
II. REVIEW OF THE LITERATlmE • • • • • • • • • 7
Literature Concerning the Properties of
Resin • • • • • • • • • • • • • • • • • • • 7
Literature Justifying the Use of Resin as A
Painting l1edium • • • • • • • • • • • • • .10
III. STUDIO FINDINGS •• • • • • • • • • • • • • .13 (
Suitable Grounds for Resin • • ••• • • • • .13
Colorants ••••••• • • • • • • • • • • .15
Techniques and Application Procedures • • • .17
Resin As A Binder •• • • • • • • • • • • • .2.5
IV. SUlii}LARY • • • • • • • • • • • • • • • • • • .29
v. GONCLUSIJNS • • • • • • • • • • • • • • ·33
APPENDIX • • • • • • • • • • • • • • • • • • • .37
BIBLIOGRAPHY • • • • • • • • • • • • • • • • • .50
iii
LIST CF ILLUSTll.>\TION8
Ferso~l horks Plates I--XII
Plate B2.
I.
Title 2f Painting
Red and Gold
Hedium
Mixed Hedio.
Pa,r~e
38
II. The Bloodsuoker Mixed f:ed io. 39
III. The Yellow Path N1xed r'1edia 40
IV. Tree-Fire Resin 41
v.
VI.
VII.
VIII.
Nude in Yellow and Green Surroundings
J1ue Irre:u1ar Shepes
Composition of Irregular Shapes
Sunburst
Eixed .':'edia
rI1xed '~ed ia.
Collage
Resin
41
}-l-2
43
44
( IX.
x.
XI.
Compos1t10n \Uth Sand
~l1xed Nedia Composition
The f'efcated
Collage
:'ixcd ~ erlia
Col1a';c;
45
46
47
~;II. Construction I:ut:1ber Une Construction 48
XIII. A photograph of basic paintins ~ateria1s 49
iv
CHAPTJm I
Tn:;:,:; ?B.:_'23L,;;;,;,l A:'ID D.~:;PIIUTI(JNS CF T;=m~S USED
Since unusual media and techniques are frequently
of considerable interest to many contemporary artists,
technological advances and the desire for new and contem
porary forms have been partially responsible for many
new media developments. Stainless steel, plastics, neon
lights, painted metals, glass, fiber Glass, aluminum,
vinyl bags, and many other unlikely materials have found
a place in the ever chan~i~~ world of the visual arts.
Plastics, as art media, have only become somewhat
common since the mid 1960's. While there are countless
( forms of plastics, (many of which have been established
as crafts media) thermosetting plastics, such as Clear
Cast, seem to be relatively unexplored in the painting
field. At the beginning of this study the writer hoped,
that if Clear Cast was found to be physically suitable
as a painting medium, another new method could be sug
gested for broadening the means by which artists might
express their ideas.
2
I. THE PUODLEr'I
Statement of the problem. It was the purpose
of this study (l) to determine, through experimentation,
the practicality of using Clear Cast as a painting medium:
(2) to explore through paintings, the results of the
experiments: (3) to summarize the painting process.
Importance of .:!ill£. study. Few progressive artists
resist new media since progress in art materials often
will parallel the prime media of "the day". Hhile many
artists will never care to express themselves by other
than traditional means, they may desire to .ree another
do so. Plastics comprise one of the most important forms
of material in use today in general manufacturing. Clear
Cast is an easily attainable plastic, completely clear,
( and possibly, capable of producing an ideal medium for
the transparent paintings of today. Clear Cast is also
a binder and may serve as an excellent collage medium.
If Clear Cast could be found to be a suitable
medium for painti~~, it would provide a reasonably
priced, easily acquired medium that artists could use
if they desired. To date, literature on actual painting
techniques with resin is inade~uate.
Limitations Qf the studX. Since the properties
3
of plastics are very complicated and this paper intended .
to stress painting methods and techniques, little dis
cussion is devoted to the properties of plastic. An
excellent source for the chemical aspects of plastic is
Thelma Newman's Plastic As !ll Art ~. Chilton Company.
The resin was of interest as a painting medium and this
thesis limits its research to an examination of the
versatility of Clear Cast when subjected to various
techniques.
It must be made apparent, that the testing of
permanency was beyond this researcher's capability.
Resource books, concerned with similar resins, did
attest to resins' stability and permanency but liter
ature cautioned readers against assuming that all resins
would react exactly alike. 110st techniques attempted in I
this study involving Clear Cast, should be applicable
to other thermosetting plastics, but since all commer
cial plastics can have peculiar effects, some experi
mentation with a partioular brand may be necessary.
II. D=:FINITIONS OF Ti~;I1}1S USED
Clear~. Clear Cast is an extremely clear
Polyester Resin of high visoosity that hardens when
mixed with a catalyst. It is a thermosetting plastic
4
with Clear Cast being the commercial name.
Catalyst. A oatalyst is a toxic chemical that
initiates the reaction which causes the resin to set
up hard. The name for this material is Methyl Ethyl
Ketone Peroxide.
~. Cure, n.--The changing of a resin from
a liquid to a solid. Cure, v.--To change the properties
of a plastic by chemical reaction, usually accomplished
by the action of heat or catalyst or both, with or with
out pressure. Clear Cast changes its properties through
the addition of a catalyst and without pressure. Complete
curing of the resin may take several weeks even though
the resin appears to be cured.
~. The dyes referred to in this paper were
manufactured by American Handiorafts Company which is f
a Division of Tandy Corporation. The transparent dye
contains Methyl Ethyl Ketone which is harmful or fatal
if swallowed and it must be used in a well ventilated
area. The transparent dyes were sold in one-half fluid
ounce jars and the opaque oolorants were supplied in
sets containing five different colors.
-Zxotherm~. lIeat generated by chemical reaction.
Gel. Gel is the intermediate stage in which the
plastic is neither dominately liquid nor solid.
5
~ylar. A trade name for a thin sheet of dense
plastic used in these painting processes to obtain a
smooth surface.
ThermosettiTh% Plastic. Thermosetting plastics are
those plastics which set and harden by exotherm heat. Sub
sequent heating (at less than 1500 degrees Fahrenheit) does
not change the hardened form. The plastic undergoes a chem
ical change and oannot be returned to its original state.
III. HYPOTHESES
1. Clear Cast casting resin will adhere to both
canvas and mascn~te.
2. Clear Cast resin can be colored with various
paints suoh as acrylics and oils in addition
to the transparent and opaque dyes mentioned f
previously in the Definitions of Terms.
3. Clear Cast resin may be adapted to a variety
of painting styles and techniques without
unusual or excessive preparation.
IV. :H3THODS OF PROC :~DURE
In this research it was necessary to try to
resolve the hypotheses through experimentation in the
studio in which various paintine styles and application
6
techniques were attempted. The resin was evaluated on
its ability to conform to this artist's intentions and
whether or not the physical properties of the resin
dictated paintine styles or techniques.
Several painti~~ grounds were used in an effort
to find at least one suitable base. Also various oolor
ants suoh as i~~, acrylic, oil, metallic pi6~ents, and
dyes, were mixed with the resin and samples were made.
Notations were reoorded from observations conoernins the
ability of the colorants to blend, dissolve, and dry.
In addition to the sample shapes, twenty-two works were
attempted using the above colorants.
There were t~o applioation techniques, poured and
painted. Notes were ~~dc in conl1ection with any diffi
culties observed in either of these teohniques. /'
The resin was also evaluated for its ability to
retain collage objeots. Items were placed in the resin,
and upon curing the embedments were pryed loose, when
possible. In removing the embedments the degree of
difficulty involved was noted.
CHAPT~~R II
R~~IEW OF Tlr£ LIT~R&TUR~
Literature related to plastics is not uncommon
for those who desire to know about crafts. In fact,
many books come complete with instructions and diagrams
illustrating how to make projects, however, resin painting
is not discussed in these books. The artist desiring
to paint with this medium will find little help in the
literature to date, if he is seeking actual painting
methods. It would be an error to discount the use of
these books, however, because much of the material that
is related to crafts can be used by the painter since
I chemical properties often remain the sarne.
I. LITERATURE CONCERNING TIrE PROPERTI3S
OF RESIl~
The thermosetting plastics once formed are SUb
ject to chemical change and can no longer be returned
to their natural state. A cross-linking of the plastic
forms a chain of molecules and holds them tightly together.
The form1n~ of the chain hardens upon polymerization and
8
1is no longer sUbject to melting.
Polyester resins have proved to be rather effi
cient casting resins whether applied in thick or thin
layers. The resins have properties thut may at first
glance seem strange to the layman. "The queer thing
about the setting agents, or oatalysts, is that you
need proportionately less for big castings than for
n2small ones. Two major factors which affect the amount
of catalyst are the temperature of the liquid and the
thickness of the pour. The thicker the pour, the less
catalyst per ounce required. Too much catalyst will
cause excessive heating of the resin and the plastic
may crack.
The plastic was found to be rather stable when
I exposed to heat. Bick stated that it would not soften
appreciably at temperatures below 250 degrees and when
higher temperatures were applied, the plastic tended to
harden even more. Research revealed that boiling the
plastio in water had no effect on its shape.
1Thelma R. Newman, Plastic As ft~ Art Form. (Philadelphia: Chilton Co., 1964):-p:-2~----
4Harry Walton, Plastic ~~~ Craftsman (New York: McGraw-Hill Book Co., Inc., 1951)
9
The resins tested to date had reasonably good
color stability since most colors remained stable under
indoor light and yellowed only slightly when exposed to
the sun. A wide range of colors was made possible when
various pigments and dyes were used.
The color theory as described by Alexander F.
Bick follows:
Relatively transparent colors for polyester plastics are produced by mixing the primary or secondary color pi~ments with the clear resin separately or in pairs. For example, blue added to the resin, or blue and green added to the resin in combination, produce a clear, colored plastic.
Opaque colors can be produced in either of two ways. The Dost common way is to mix white with a color. The other method 1s to add a third primary to a mixture of two primary colors. For example, mixing blue and yellow produces a transparent green. If a third primary, red, is added, the plastic becomes an opaque, muddy
t color. The opaqueness will result from the combination of three primaries, or combinations of their mixtures, tints, or shades.3
Newman stated that colorants serve three functions:
decoration, filler, and stabilizer. The painter, as a
rule, is most often interested in what color can do in
relation to decoration or mood. Colorants that have
;:; ~Alexander F. Bick, Plastics: Projects and Procedures
~ P~lyesters (Milwaukee: Bruoe Publishing Co., 1962), p. 2.
10
mineral value will increase the strength of the resin
if not used excessively. It is necessary to understand
that colorants can weaken the medium if mixed in a ratio
excessive to the proportion of resin.
It is necessary to establish that the research
listed in the preceeding pages was not conducted on
Clear Cast but on similar plastics. While Clear Cast
should react in a similar manner, some of the properties
may vary.
II. LITERATUR~ JUSTIFYING THE USE OF K_.snr
lill A PAINTING HEDIUN
Resin has been used for making jewelry, garden
pools, awnings, decorative panels, sun screens, trays,
fishing rods, helments, steel-strong boat hUlls, pipe
and pipe fittings and many craft projects. Although
painting was relatively unexplored in this medium,
many physical properties of resin were made known to
the artist. Thelma Hewman's Plastic M. L!n Art Form
deals more with plastic as a painting medium. than other
sources but even it only skims the actual painting tech
niques and makes no reference to Clear Cast.
Similar resins have been tested for sculptural
11
possibilities, and are well established as suooessful
media. The clear sculptures reflect delicate lighting
created by the angles and planes of musoular features.
Both sides of the figures are seen at the same time due
to the resin's clarity and it is this olarity that may
give glazing techniques a big boost. The following
quotes by people in the arts, indicate that plastios
are finding a succ~ssful place in the art field: "Aptly
named 'Solid Light', this new sparkling show demostrates
4how new materials can inspire an artist."
Resin as a soulptural medium has been hailed by
~ Magazine when Frank Gallo's work was reviewed.
More of the same-all of it striking. The materials are polyester resin shaped in silicone molds, worked over with a blow torch, steel wool, and sharp instruments then--tinted to that waxen but luminous approximation of flesh.5
Newman on plastics, " ••• these new materials
reach frontiers heretofore unknown to creative users of
traditional media because they are capable of going be
yond the oapacity of other substances.-r.
4Irene Hamar, "Lucite and Plexiglas Sculpture," Art Magazine, XLII (Dec.-Jan., 1968), 62.
5Frank Gallo, ~ Magazine, November, 1967, p. 57. 6Newman, 2R. £!1., p. 3.
12
Colorful polyester resins open a wide new field for art expression. Beautiful polyester panels, grills, and columns are appearing in modern architecture. From this beginning, persons with a feeling for design see in polyesters valuable materials for arts and crafts.?
They are known for their ease of handling, even in the liquid state, and for their property of curing without the formatio~ of liquids or gases. They color easily••••
The above quotes refer to resin in all phases
of use and not just painting, however, it should be
noted that it is likely that many of these qualities
can continue into the painting area.
?Alexander F. Bick, Plastics: Projects ~ Procedures with Polyesters (Milwaukee: Bruce Publishing Co., 1962~, p. 8.
8.Ibid., p. 1.-
CHAPTER III
STUDIO FINDINGS
The first necessary procedure for the production
of a resin painting was to find a level, clean surface
in a well ventilated area. It was found that the resin
emitted an objectionable odor. Jne cannot stress enough
the need for proper ventilation such as an exhaust fan
or a cross breeze or both. Every precaution had to be
taken to protect children from mishandling the poisonous
chemicals.
I. SUITABLE GROUNDS FOR HESIN
The first hypothesis was in conjunction with suit
able grounds for Clear Cast with masonite and canvas being
of primary consideration. Before relating to any partic
ular works, it is possible to generalize the results of
the research.
In one procedure Clear Cast was applied to
stretched canvas with a primer coat of gesso while in
another, the resin was applied to raw, stretched canvas.
In both cases the painting method was essentially the
14
same, but the gessoed canvases, upon oompletion, were
very flexible, end easily cracked; while the canvases
primed with resin were stiffer and resisted cracking.
Priming the canvas was accomplished by thoroughly sat
urating the cloth with resin mixed with catalyst.
Masonite was used as a ground in both raw and
prepainted states and seemed to serve as an efficient
base in either case. Both one-quarter inch and one
eighth inch thicknesses of masonite were used with the
thicker material bein~ the better since it reduced the
chances of the paintings' warping or cracking. The
masoni te panels that were braoed on the baclt l'1ere also
preferred over the unbraced panels, unless small works
of twelve inches or less were being painted.
When pouring over thick collage materials or
other embedments it was necessary to have a dam or
edge to contain the resin. This was easily done by
preframing the painting in such a way that the inside
edge of the frame became the dam. Plate nu:nber eleven
is an example in which the frame is used as the mold.
Oil clay, water base clay, weather stripping, sheet
plastic, sand and other forms of solid materials served
as inner molds within the wood mold.
15
II. COLORAHTS
Hypothesis number two asserts that oils and
acrylics may serve as colorants for resin in addition
to the dyes usually sold with the plastic. r~ny works
were painted with oils, and, at times, the oils and
the recommended dyes were used in the same painting
with no apparent adverse effects. Acrylic, however,
slightly retarded the hardening process, and upon
curing, it oocasionally would pit the Clear Cast's
surface.
Oil paint was used because of its ability to serve
as an opaque colorant and because it comes in a wider
variety of colors than does the dye. When the oil
paint was used as a colorant, it had a tendenoy to
separate slightly, thus, it was essential to stir the
resin more vigorously than the dye. ~ore catalyst was
needed with oils to harden the plastic, and the propor
tion of colorant to resin was kept low since an exces
sive quantity of colorant would have weakened the medium.
It is extremely difficult for this researcher to
quote percentages for those desiring to know how much
colorant is excessive. It could only be approximated
when the resin was beooming weakened by noting a
16
difference in the time necessary for the resin to gel • ..
Usually, oils and acrylics slowed the gelling process,
and when mixed in a ratio excessive to that which was
practical, the works gelled very slowly and remained
tacky for some time. It was found that when works
gelled slowly, the amount of colorant may have been
excessive, the amount of catalyst insufficient, or the
resin cooler than room temperature. However, when one
is working with a considerable amount of colorant, he
should reduce the quantity and observe the results.
Colorants should be lightfast, weather-resistant, heat-
resistant, and capable of thorough dispersion within
the resin.
Hypothesis number three was accepted only after
several techniques were employed. It was found that the
resin did "dictate" to some degree the variety of styles
a painter might use. Works which depended on minute or
meticulous description were very difficult to paint due
to the fluid nature of the resin. Works which were
spontaneous and not dependent upon precisely directed
brush strokes seemed to be more practical for this medium.
The drying times for these paintings varied, but
all were termed quick-drying, thereby, limiting the
17
working time of each pour to forty minutes. or less.
Eaeh individual. through exper1mentation. could vary
the amount of catalyst he used until he found an appro
priate working time. Those painters desiring longer
working times will need to add less catalyst per ounce
of resin.
III. TECHNIQUES AND APPLICATION PROCEDURES
Resin painting may be assumed to be a tedious
process. but the studio findings indicated the opposite
to be' true. One of the first completed works. "Red and
Gold", is an example of the qUickness of this medium
since the painting took less than four hours to complete.
A single pour of resin may cover a large portion of a
painting, consequently reducing working time.
"Red and Gold". Plate I. was painted on an under
framed piece of masonite with the main emphasis placed
on structure. Ink was used to create texture. This
texture was made possible by dropping the ink into the
resin before the gel state Was reached; and upon gelling,
the resin bubbled and separated from the ink, leaving the
mason1te exposed. Many of the pours in this work were
clear. and the color was added after the resin had set
18
for a few minutes.
,- Gold pigment was placed in a nearly gelled pour
which prevented its sinking into the resin, thus,
keeping the pigment bright. White opaque colorant was
used in the upper left corner, and is responsible for
the marble-like appearance found there. In all the
paintings, the catalyst was added prior to each pour;
thus, it was mixed with the resin before the plastic
was poured or painted onto the ground.
It was difficult to control the resin when first
experimenting with painting techniques, but after com
pleting several works, greater control was gained by
delaying the application of the medium until it had set
in the mixing oontainer for a few minutes. The most
important item in the oontrol of resin was making sure
the plastic was poured on a level surface. Clear Cast
will hold its shape, such as the red circle in, "The
Bloodsucker", Plate II, providing the working surface
is perfectly level.
"The Bloodsucker" had a copper spray base applied
to the masonite followed by a red pour which made the
oircle. If too much resin had been poured, there would
have been little chance of containing it, and its removal
19
would have been very messy. In the early gelling state
the loose resin was brushed back into the cirole after
the resin had begun to set but before it ooagulated.
Resin that was brushed after coagulating would often
remain rippled and, on occasion, pull loose from the
backing. After the first pour had gelled, enJther was
applied, still leaving the painted masonite base exposed
in some areas to create texture. Dyes were the main
colorants used in this work. The desired technique was
in control of the artist, and the style did not have to
be altered because of the resin's fluid nature.
"The Yellow Path", Plate III, was a pre-planned
work using the flower design created by drops of dye on
fresh and near-gelled pours. The working time for such
a painting is usually eight or nine hours. During this
time, there are "crucial" periods when one should not
be interrupted. Interruption of the painter may cause
him to miss the necessary moment at whioh the dyes should
be applied since dyes applied too soon will run together,
and those applied too late will not spread at all. To
create such a painting, many layers must be poured, with
the first pour usually being an opaque white. A heavy
layer of bright oil color may serve as a base coat;
20
however, this paint may cha~~e the way the resin reacts.
oil paints will not dryas rapidly as the resin will
cure, therefore, some irregularities in the surface may
occur. In addition, adhesive qualities may not be
as good.
The opaque yellow which gives the basic structural
stability to this painting was applied in a near-gel
state, while the other resin pours were still setting.
The flower patterns resulted from transparent dye being
dropped from a distance of two feet and occasionally
being!
aided by use of a brush.
"Tree-Fire", Plate IV, is an example of the
pastel color scheme illustrati~~ that most intensities
of color are obtainable in this medium. Since this
painting's emphasis was placed on balance and structure,
the work was not left during the early stages following
eaoh pour. The resin had a tendency to shift positions
on the surface, thereby, changing many important features.
It was necessary to be present at these times so the
resin could be painted back into its original position,
or the artist's intentions changed to ooinoide with the
movement of the medium.
"Tree-Fire" had a liquid lead base applied to
parts of the masonite panel and the original intention
21
was to contain the resin. Later, it was "painted out ll
whIch acoounts for the thin, dark lines that are only
slightly visible. Opaque dye was applied when the resin
was initially poured. The dark-colored areas were added
as the resin began to gel; and it was at this point that
much of the painting surface was scratohed and filled
with transparent dye. A similar result was also obtained
by tilting the painting and allowing the resin to run,
which resulted in dyes overlapping, thus making colors
darker. Thin, dark lines were made by dipping a tooth
pick/in an opaque dye and passing it through a near
gelled resin.
Colors often became dark unless proper care was
given to their application. A bright ground solved most
of this problem; however, on oocasion, it was necessary
to add a small quantity of opaque white with some of the
color applications to help keep the work light.
Not all resin paintings need be limited to the
pour teohnique. "Nude in Yellow and Green Surroundings",
Plate V, is an example of brushed-on resin. The plastic
was mixed with a colorant, and catalyized greater than
normal. Oils, acrylics, and opaque dye are permissable
as colorants. This painting was canvas-backed and had a
ground which prevented the resin from saturating the
?2
cloth. vJhen working on canvas it was found that the cloth
had' to be saturated, or the painting surface cracked when
pushed or poked from the back side.
A saturated canvas did not crack when subjected
to fairly hard blows, nor did it crack when exposed to
an extreme temperature change. A few paintings did
crack when they were carried from a house maintaining a
seventy-six de~ree temperature into the outdoors where
it was in the upper teens, with a stro~g wind. These
were earlier works, usually on canvas.
When painting on canvas, this artist had a ten
dency to make thinner pours which produced a more typical
"painting" effect; yet, this thinness is contrary to the
nature of resin. All paintings should have been at
least three-sixteenths to one-quarter of an inch thick
for best results.
"Blue Irregular Shapes", Plate VI, is an example
of pouring before the base or ground coat was dry. The
moisture caused some tiny crystal-shaped irregularities
in the resin. The irregularities could cause deterior
ation over a long period of time. The black background
was of the same enamel paint used on the frames, and the
blue and green colors were painted in oil. The resin
23
was applied to make the colors glossy in appearance and
to ~uild up a thick composition to create a feeling of
depth in the work.
"Composition i'Jith Sand", Plate VII, was painted
using both dye and oil colorants. The white and yellow
areas were poured on the unprimed masonite with the red
area being a red transparent dye. The orange colors
were oil colorants mixed with resin and lightly covered
in some areas by the red dye. The upper right-hand
corner became more structurally valid with the addition
of the oil colorants. Located in the upper right side
of the painting, consisting of green and orange, are a
series of small pieces of clear plastic applied to the
white opaque, and colored with dyes. The clear pieoes
were first poured on wax paper, then peeled from their
"backing" and applied to the white opaque with the aid
of a clear, fresh resin. Clear resin was then sparingly
applied to join the pieces to the main painting surface,
and a small amount of dye was dropped into the resin at
this time. The sand used in this work separated the
transparent dye from the opaque.
"Sunburst ll , Plate 8, refers to a transparent
pa1nting whioh needed special preparation. Since
24
this type of painting was to have no solid background,
thereby allowing light to show through, the resin was
poured on a surface which could be peeled away from
the plastio after curing. Mylar, a flexible plastio
sheet, is exoellent for this type of baoking; and it
may be stapled or glued to a frame made of wood. Care
had to be taken to make sure the Mylar was tight against
the wood, or the painting would have leaked. If a
painting leaks, resin may beoome entrapped under the
wood. In this case, the resin shrinks, putting a bind
on the entrapped plastio which oannot move, thus,
oausing the edges to oraok.
A olose examination of plate VIII shows both a
bright , and a dull white. The brigh~ color was applied
direotly from the bottle with a toothpiok, and was
brushed into position; while the dull white was mixed
in a oontainer, and poured onto the surfaoe. The blaok
lines in the upper portion of the work were trailed onto
the surfaoe while the lower lines were painted by brush.
The objeots present in "Composition of Irregular
Shapes", Plate IV, are all resin with one exoeption,
the bottle cap. This paintin~ illustrates the building
qualities that oan be obtained with resin. Pieces oan
25
be added to these embedments until the desired thickness
i~ obtained. The shapes that appear broken were first
poured on wax paper and allowed to harden. Upon hardening,
they were easily removed and were ready for use.
The wrinkled texture was the result of pouring
resin over wet enamel paint and tilting the surface of
the work, causin~ the resin and enamel to m.ix.
ft}l1xed Media Composition", Plate X, is an example
of a resin painting with an oil base underpainting. The
colors are combinations of oil paints and inks with a
clear resin application cover, giving the painting both
physical and visual depth. i>fhi te opaque dye was applied
last. This work cracked because the oil prevented the
resin from saturating the canvas; however, it was corrected
by pouring a thin layer of resin on the front of the work.
IV. RESIN AS A BINDZR
Resin is capable of retaining objects with little
or no special preparation, as illustrated in I1The Defeated lt ,
Plate XI. The chessboard in this painting and the players
were covered in a single pouring. The chessboard was
painted with gesso and black magic marker. The marker
26
bled durin[; the pouring, formin(s the textural appearance
found in the work. If the chess pieces were to have been
completely covered, the resin would have needed to be
poured in several layers. Gach layer could not have
exceeded one-fourth of an inch or the possibility of
cracking would have inoreased.
"Construction Number One", Plate XII, is a mixed-
media composition whioh combines sheet plastics, enamel
spray paint, dyes, and resin. The masonite panel was
first sprayed black, then covered by a thin resin pour.
The I
plastic sheets were placed into position, nailed in
a few places, and joined in others through the use of a
small torch. Resin was then poured over the entire
work. After the painting was photographed for this
paper it was altered, and a large piece of solid plastic
was placed near the center of the work. The added piece
was resin which had set in a jar until it had reached a
near-gelled state. This thick piece (approximately two
inohes by three inches) was held in place by a thin pour
of Clear Cast. Unlike many binders, the resin did not
just hold the embedments, but actually bec~~e the
painting medium.
The works represented in :Plates I-XII were poured
or painted in several layers, often without permitting
27
the under layer to cure. When this procedure was
followed, the pours were usually within twenty minutes
of each other and a minimum of catalyst was used. It
should be remembered that the thicker pours required
less catalyst per ounce than thinner pours. If more
than nine drops of catalyst were added to an ounce of
resin, the works did not exceed a depth of one-eighth
inch. When the plastic was applied by the paintins
technique, the catalyst count could have been as high
as ten drops to the ounce. In thin paintings, at room
temperature, a minimum of six drops of catalyst per
ounce was used.
The picture in Plate XIII shows the materials that
were found necessary in many of the paintines with Clear
Cast resin. Presto Paste, item two, was not used in the
paintings, but was used in sronples, where upon hardening,
it created dams to hold the resin. Item three is a
filler, for use with the resin; Plesta Solve, item four,
served as a cleaninr,r, 9,;;ent for brusheE. The paper
measurln~ cups were used for the mixing of resin, since
they could be discarded after several pours. Ite~s six
nnd s~ven refer to the dyes that were used with the
lar~er jars bein:j thG tr:::-.nsparcnt colorants. Clear Cast
28
was mixed with the catalyst, item ei3ht, for all pours
mehtioned in the studio findings. The transparent dyes
were applied by eye droppers and brushes s1milar to those
illustrated in the photograph.
CHAPTER IV
SUI1I·:ARY
Unusual media and techniques are frequently
of considerable interest to many contemporary artists.
Plastics, as an art m.edia, have only become somewhat
common since the mid 1960's. While there are countless
forms of plastics, thermosetting plastics, such as
Clear Cast, seem to be relatively unexplored in the
paintin..'S field.
It was the purpose of this study to determine,
through experimentation, the practicality of usi~~
Clear Cast as a painting medium. If the resin could
be found to be a suitable medium for painting, it
would prOVide a reasonably priced, easily acqUired
medium that artists could use.
This paper intended to stress painting methods
and techniques, avoiding the study of the chemical
aspects of plastics. The testing of permanency was
beyond this researcher's capability; however, resource
books did attest to most resins' stability. Hhile some
oolorants have few undesirable short term effects, it
)0
was beyond this researcher's capability to determine
anf long term effects.
The res1n was evaluated on its ability to conform
to this wr1ter's intentions. Two paint1ng grounds, and
several colorants, were used to make twenty-two paintings
and var10us sample pieces.
Canvas or masonite grounds may be used, but the
thicker mason1te panels were found to be more pract1cal.
When the canVaS served as a ground 1t had to be thoroughly
saturated in order to prevent oracking. The amount of (
catalyst mixed with the resin was important in deter
mining working time.
Various colorants such as oil, acrylic, dye, ink,
and metallic pigment were used. Oils and the recommended •
dyes were used in the sa~e painting in several instances
with no apparent adverse effects. Acrylic would occa
sionally pit the surface of the works creat1ng rather
interesting texture. Oil paint was used because of its
ability to serve as an opaque colorant, and because it
oame in a wider variety of colors than did the dyes.
All colorants used should be lightfast, weather-resistant,
heat resistant, and capable of thorough dispersion with
in the resin.
)1
Works which depended on minute or meticulous
description were very difficult to paint while works
that were more spontaneous and not d.ependent upon
precisely directed brush strokes seemed to be more
practical. The dryi~~ times for these paintings varied,
but all were termed qUick dryin::;. 2·Iany people have
assumed resin to be a tedious process, but the experiments
indicated the opposite to be true. Greater control was
~ained during the paintin~ process by delaying the appli
cation of the medium until it had set in the mixing
oontainer for a few minutes. A level working surface
was a necessity for obtainins ~ood paintinG results.
Unlike many binders, the resin did not just hold
the embedments, but actually became the paintinz, medium.
Works were frequently poured or painted in several
layers, often without permitting the underneath layer
to cure. Hhen this procedure was followed, the pours
were within twenty minutes of each other, and a minimum
of catalyst was used. The thicker pours required less
oatalyst per ounce than the thinner pours.
Rooms with proper ventilation and limited access
are extremely necessary for the safe and healthy production
32
of paintings. Every precaution should be taken to
protect children from mishandling the poisonous
chemicals.
CI:IA1;Tmi V.
C~NCLUSIONS
In review of the results of the labratory experi
ments, the first hypothesis must be accepted as practical
and correct, with best results being obtained through
the use of one-quarter inch, braced masonite. It was
previously stated that several works had broken when
exposed to sixty deeree temperature change. It is
important to note that none of the works were of the
later series, when the construction of the paintings
was better. The earlier works were paper collages or
paintings that had been done on gesso-pr1med canvas.
It is this researcher's belief that the better-constructed
works would not be as sUbject to cracking if they were
sufficiently wrapped and allowed to gently absorb the
temperature change. This belief is based on the results
obtained later, from samples that were sUbjected to the
extreme temperature changes for observation.
Transparent paintings were not too difficult,
provided each pour did not exceed one-quarter inch.
)4
Exceeding this thickness in one pour often produced too
much heat and the painting warped or cracked. This
"iri ter had more difficulty "I'1i th large paintings without
masonite grounds than those paintings with the ground.
The masonite seemed to add strength to the resin as it
lessened the need for a thicker pour.
The second hypothesis concerning the ability of
Clear Cast to be colored by means other than the recom
mended dye, was also found to be acceptable. Plates V
through X, with the exception of Plate VIII, were ,
examples of works that had oil paint as at least part
of the colorant, apparently with no adverse effects.
Plate V, plus several samples, were made with acrylic
as the colorant, and, in most cases, the paint mixed
well with the resin. In some instances the surface did
pit; however, this formed aL interesting texture on the
paintin~ surface. Inks, metallic piements, and enamel
paints were also used as colorants, usually with success.
In resard to the third hypothesis, the following
oomments give reason for aocepting it as previously stated.
If one were to stUdy Plates I through XII, it would
become apparent that several techniques are possible with
the medium. The resin may limit the number of styles
35
since techniques which are l!leticulous in nature are
e~tremely unwieldy. It was difficult to retain an
actual brushstroke with resin, but it was not too
difficult to create specific shapes and retain them.
As a medium, the resin is flexible enough to allow one
to be either deliberate or uninhibited in his paintine
approach. Clear Cast was successfully adapted to
various techniques with little or no special preparation
of materials necessary.
This researcher found Clear Cast to be suitable
as a/paintin~ medium provided one would heed all health
warnings which accompany the resin.
Through additional research, one mt-sht find
other ways of usin~ resin as a paintinG medium. There
are several possible grounds which were not used that
may be of interest to the reader. One may pursue the
idea of usin~ fiber glass as a sround, or strips of cloth
which have been saturated with resin. These strips may
add interesting textural qualities to a paintin~.
Styrofoam may serve as a building agent for resin
oonstructions as could sheet plastics. Additional color
ants might be found through experimentation with cake
dyes, Rit, natural objects, or any other material that
J6
might be oapable of dispersion within the resin.
Painting with resin was 1nteresting to this researoher
and it is his wish that this thesis may be of benefit
to prospective users of this medium. As a final word
of caution, all health warnings associated with this
material should be taken seriously.
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41
PLATE IV.
Tree-Fire August, 1968
18" by 24"
PLATE V.
Nude in Yellow and Green December, 1967 Surroundings
20" by 36"
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SELECTED BIBLIOGRAPHY
A. BOOKS
Bick, Alexander F. Plastics: Projects and Procedures with Polyesters. Milwaukee: Bruce Publishing Company, 1962. 108 pp.
Cook, Gordon J. The Miracle of Plastics. New York: The Dial PreSS; 1964. 272 pp.
DuBois J. Hary, and John Frederick. Plastics. New York: Reinhold Publishing Corporation, 1967. 342 pp.
Gick. Clear Cast. Fort Worth: American Handicrafts Company,"""i"9b4. 34 pp.
Newman, Thelma R. Plastic As An Art~. Philadelphia: Chilton Company, 1964. 338 pp.
Walton, Harry. Plastic for the ~ Craftsman. New York: McGraw-Hill Book Company, Inc., 1951.
f
B. PERIODICALS
Gallo, Frank. Art I1agazine. (November, 1967) p. 57.
Hamar, Irene. "Lucite and Plexiglas Sculpture," Art Magazine, XLII (Dec.--Jan., 1968) p. 62.
